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    Hearing Amazônia: MIT musicians in Manaus, Brazil

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    On Dec. 13, the MIT community came together for the premiere of “We Are The Forest,” a documentary by MIT Video Productions that tells the story of the MIT musicians who traveled to the Brazilian Amazon seeking culture and scientific exchange.

    The film features performances by Djuena Tikuna, Luciana Souza, Anat Cohen, and Evan Ziporyn, with music by Antônio Carlos Jobim. Fred Harris conducts the MIT Festival Jazz Ensemble and MIT Wind Ensemble and Laura Grill Jaye conducts the MIT Vocal Jazz Ensemble.

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    “We Are The Forest”Video: MIT Video Productions

    The impact of ecological devastation in the Amazon reflects the climate crisis worldwide. During the Institute’s spring break in March 2023, nearly 80 student musicians became only the second student group from MIT to travel to the Brazilian Amazon. Inspired by the research and activism of Talia Khan ’20, who is currently a PhD candidate in MIT’s Department of Mechanical Engineering, the trip built upon experiences of the 2020-21 academic year when virtual visiting artists Luciana Souza and Anat Cohen lectured on Brazilian music and culture before joining the November 2021 launch of Hearing Amazônia — The Responsibility of Existence.

    This consciousness-raising project at MIT, sponsored by the Center for Art, Science and Technology (CAST), began with a concert featuring Brazilian and Amazonian music influenced by the natural world. The project was created and led by MIT director of wind and jazz ensembles and senior lecturer in music Frederick Harris Jr.

    The performance was part eulogy and part praise song: a way of bearing witness to loss, while celebrating the living and evolving cultural heritage of Amazonia. The event included short talks, one of which was by Khan. As the first MIT student to study in the Brazilian Amazonia (via MISTI-Brazil), she spoke of her research on natural botanical resins and traditional carimbó music in Santarém, Pará, Brazil. Soon after, as a Fulbright Scholar, Khan continued her research in Manaus, setting the stage for the most complex trip in the history of MIT Music and Theater Arts.“My experiences in the Brazilian Amazon changed my life,” enthuses Khan. “Getting to know Indigenous musicians and immersing myself in the culture of this part of the world helped me realize how we are all so connected.”

    “Talia’s experiences in Brazil convinced me that the Hearing Amazônia project needed to take a next essential step,” explains Harris. “I wanted to provide as many students as possible with a similar opportunity to bring their musical and scientific talents together in a deep and spiritual manner. She provided a blueprint for our trip to Manaus.”

    An experience of a lifetime

    A multitude of musicians from three MTA ensembles traveled to Manaus, located in the middle of the world’s largest rainforest and home to the National Institute of Amazonian Research (Instituto Nacional de Pesquisas da Amazônia, or INPA), the most important center for scientific studies in the Amazon region for international sustainability issues.

    Tour experiences included cultural/scientific exchanges with Indigenous Amazonians through Nobre Academia de Robótica and the São Sebastião community on the Tarumã Açu River, INPA, the Cultural Center of the Peoples of the Amazon, and the Museu da Amazônia. Musically, students connected with local Indigenous instrument builders and performed with the Amazonas State Jazz Orchestra and renowned vocalist and Indigenous activist Djuena Tikuna.

    “Hearing Amazônia: Arte ê Resistência,” a major concert in the famed 19th century opera house Teatro Amazonas, concluded the trip on March 31. The packed event featured the MIT Wind Ensemble, MIT Festival Jazz Ensemble, MIT Vocal Jazz Ensemble, vocalist Luciana Souza, clarinetist Anat Cohen, MIT professor and composer-clarinetist Evan Ziporyn, and local musicians from Manaus. The program ended with “Nós Somos A Floresta (We Are The Forest) — Eware (Sacred Land) — Reflections on Amazonia,” a large-scale collaborative performance with Djuena Tikuna. The two songs were composed by Tikuna, with Eware newly arranged by Israeli composer-bassist Nadav Erlich for the occasion. It concluded with all musicians and audience members coming together in song: a moving and beautiful moment of mediation on the sacredness of the earth.

    “It was humbling to see the grand display of beauty and diversity that nature developed in the Amazon rainforest,” reflects bass clarinetist and MIT sophomore Richard Chen. “By seeing the bird life, sloths, and other species and the flora, and eating the fruits of the region, I received lessons on my harmony and connection to the natural world around us. I developed a deeper awareness of the urgency of resolving conflicts and stopping the destruction of the Amazon rainforest, and to listening to and celebrating the stories and experiences of those around me.”

    Indigenous musicians embodying the natural world

    “The trip expanded the scope of what music means,” MIT Vocal Jazz Ensemble member and biomedical researcher Autumn Geil explains. “It’s living the music, and you can’t feel that unless you put yourself in new experiences and get yourself out of your comfort zone.”

    Over two Indigenous music immersion days, students spent time listening to, and playing and singing with, musicians who broadened their scope of music’s relationship to nature and cultural sustainability. Indigenous percussionist and instrument builder Eliberto Barroncas and music producer-arranger César Lima presented contrasting approaches with a shared objective — connecting people to the natural world through Indigenous instruments.

    Barroncas played instruments built from materials from the rainforest and from found objects in Manaus that others might consider trash, creating ethereal tones bespeaking his life as one with nature. Students had the opportunity to play his instruments and create a spontaneous composition playing their own instruments and singing with him in a kind of “Amazonia jam session.”

    “Eliberto expressed that making music is visceral; it’s best when it comes from the gut and is tangible and coming from one’s natural environment. When we cannot understand each other using language, using words, logic and thinking, we go back to the body,” notes oboist and ocean engineer Michelle Kornberg ’20. “There’s a difference between teaching music as a skill you learn and teaching music as something you feel, that you experience and give — as a gift.”

    Over the pandemic, César Lima developed an app, “The Roots VR,” as a vehicle for people to discover over 100 Amazonia instruments. Users choose settings to interact with instruments and create pieces using a variety of instrumental combinations; a novel melding of technology with nature to expand the reach of these Indigenous instruments and their cultural significance.

    At the Cultural Center of the Peoples of the Amazon, students gathered around a tree, hand-in-hand singing with Djuena Tikuna, accompanied by percussionist Diego Janatã. “She spoke about being one of the first Indigenous musicians ever to sing in the Teatro Amazonas, which was built on the labor and blood of Indigenous people,” recalls flutist and atmospheric engineer Phoebe Lin, an MIT junior. “And then to hold hands and close our eyes and step back and forth; a rare moment of connection in a tumultuous world — it felt like we were all one.”

    Bringing the forest back to MIT

    On April 29, Djuena Tikuna made her MIT debut at “We Are the Forest — Music of Resilience and Activism,” a special concert for MIT President Sally Kornbluth’s inauguration, presenting music from the Teatro Amazonas event. Led and curated by Harris, the performance included new assistant professor in jazz and saxophonist-composer Miguel Zenón, director of the MIT Vocal Jazz Ensemble; Laura Grill Jaye; and vocalist Sara Serpa, among others. 

    “Music unites people and through art we can draw the world’s attention to the most urgent global challenges such as climate change,” says Djuena Tikuna. “My songs bring the message that every seed will one day germinate to reforest hearts, because we are all from the same village.”

    Hearing Amazônia has set the stage for the blossoming of artistic and scientific collaborations in the Amazon and beyond.

    “The struggle of Indigenous peoples to keep their territories alive should concern us all, and it will take more than science and research to help find solutions for climate change,” notes President Kornbluth. “It will take artists, too, to unite us and raise awareness across all communities. The inclusivity and expressive power of music can help get us all rowing in the same direction — it’s a great way to encourage us all to care and act!” More

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      Q&A: A high-tech take on Wagner’s “Parsifal” opera

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      The world-famous Bayreuth Festival in Germany, annually centered around the works of composer Richard Wagner, launched this summer on July 25 with a production that has been making headlines. Director Jay Scheib, an MIT faculty member, has created a version of Wagner’s celebrated opera “Parsifal” that is set in an apocalyptic future (rather than the original Medieval past), and uses augmented reality headset technology for a portion of the audience, among other visual effects. People using the headsets see hundreds of additional visuals, from fast-moving clouds to arrows being shot at them. The AR portion of the production was developed through a team led by designer and MIT Technical Instructor Joshua Higgason.

      The new “Parsifal” has engendered extensive media attention and discussion among opera followers and the viewing public. Five years in the making, it was developed with the encouragement of Bayreuth Festival general manager Katharina Wagner, Richard Wagner’s great-granddaughter. The production runs until Aug. 27, and can also be streamed on Stage+. Scheib, the Class of 1949 Professor in MIT’s Music and Theater Arts program, recently talked to MIT News about the project from Bayreuth.

      Q: Your production of “Parsifal” led off this year’s entire Bayreuth festival. How’s it going?

      A: From my point of view it’s going quite swimmingly. The leading German opera critics and the audiences have been super-supportive and Bayreuth makes it possible for a work to evolve … Given the complexity of the technical challenge of making an AR project function in an opera house, the bar was so high, it was a difficult challenge, and we’re really happy we found a way forward, a way to make it work, and a way to make it fit into an artistic process. I feel great.

      Q: You offer a new interpretation of “Parsifal,” and a new setting for it. What is it, and why did you choose to interpret it this way?

      A: One of the main themes in “Parsifal” is that the long-time king of this holy grail cult is wounded, and his wound will not heal. [With that in mind], we looked at what the world was like when the opera premiered in the late 19th century, around the time of what was known as the Great African Scramble, when Europe re-drew the map of Africa, largely based on resources, including mineral resources.

      Cobalt remains [the focus of] dirty mining practices in the Democratic Republic of Congo, and is a requirement for a lot of our electronic objects, in particular batteries. There are also these massive copper deposits discovered under a Buddhist temple in Afghanistan, and lithium under a sacred site in Nevada. We face an intense challenge in climate change, and the predictions are not good. Some of our solutions like electric cars require these materials, so they’re only solutions for some people, while others suffer [where minerals are being mined]. We started thinking about how wounds never heal, and when the prospect of creating a better world opens new wounds in other communities. … That became a theme. It also comes out of the time when we were making it, when Covid happened and George Floyd was murdered, which created an opportunity in the U.S. to start speaking very openly about wounds that have not healed.

      We set it in a largely post-human environment, where we didn’t succeed, and everything has collapsed. In the third act, there’s derelict mining equipment, and the holy water is this energy-giving force, but in fact it’s this lithium-ion pool, which gives us energy and then poisons us. That’s the theme we created.

      Q: What were your goals about integrating the AR technology into the opera, and how did you achieve that?

      A: First, I was working with my collaborator Joshua Higgason. No one had ever really done this before, so we just started researching whether it was possible. And most of the people we talked to said, “Don’t do it. It’s just not going to work.” Having always been a daredevil at heart, I was like, “Oh, come on, we can figure this out.”

      We were diligent in exploring the possibilities. We made multiple trips to Bayreuth and made these milimeter-accurate laser scans of the auditorium and the stage. We built a variety of models to see how to make AR work in a large environment, where 2,000 headsets could respond simultaneously. We built a team of animators and developers and programmers and designers, from Portugal to Cambridge to New York to Hungary, the UK, and a group in Germany. Josh led this team, and they got after it, but it took us the better part of two years to make it possible for an audience, some of whom don’t really use smartphones, to put on an AR headset and have it just work.

      I can’t even believe we did this. But it’s working.

      Q: In opera there’s hopefully a productive tension between tradition and innovation. How do you think about that when it comes to Wagner at Bayreuth?

      A: Innovation is the tradition at Bayreuth. Musically and scenographically. “Parsifal” was composed for this particular opera house, and I’m incredibly respectful of what this event is made for. We are trying to create a balanced and unified experience, between the scenic design and the AR and the lighting and the costume design, and create perfect moments of convergence where you really lose yourself in the environment. I believe wholly in the production and the performers are extraordinary. Truly, truly, truly extraordinary.

      Q: People have been focused on the issue of bringing AR to Bayreuth, but what has Bayreuth brought to you as a director?

      A: Working in Bayreuth has been an incredible experience. The level of intellectual integrity among the technicians is extraordinary. The amount of care and patience and curiosity and expertise in Bayreuth is off the charts. This community of artists is the greatest. … People come here because it’s an incredible meeting of the minds, and for that I’m immensely filled with gratitude every day I come into the rehearsal room. The conductor, Pablo Heras-Casado, and I have been working on this for several years. And the music is still first. We’re setting up technology not to overtake the music, but to support it, and visually amplify it.

      It must be said that Katharina Wagner has been one of the most powerfully supportive artistic directors I have ever worked with. I find it inspiring to witness her tenacity and vision in seeing all of this through, despite the hurdles. It’s been a great collaboration. That’s the essence: great collaboration. More

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      in Energy

      Six ways MIT is taking action on climate

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      From reuse and recycling to new carbon markets, events during Earth Month at MIT spanned an astonishing range of ideas and approaches to tackling the climate crisis. The MIT Climate Nucleus offered funding to departments and student organizations to develop programming that would showcase the countless initiatives underway to make a better world.

      Here are six — just six of many — ways the MIT community is making a difference on climate right now.

      1. Exchanging knowledge with policymakers to meet local, regional, and global challenges

      Creating solutions begins with understanding the problem.

      Speaking during the annual Earth Day Colloquium of the MIT Energy Initiative (MITEI) about the practical challenges of implementing wind-power projects, for instance, Massachusetts State Senator Michael J. Barrett offered a sobering assessment.

      The senate chair of the Joint Committee on Telecommunications, Utilities, and Energy, Barrett reported that while the coast of Massachusetts provides a conducive site for offshore wind, economic forces have knocked a major offshore wind installation project off track. The combination of the pandemic and global geopolitical instability has led to such great supply chain disruptions and rising commodity costs that a project considered necessary for the state to meet its near-term climate goals now faces delays, he said.

      Like others at MIT, MITEI researchers keep their work grounded in the real-world constraints and possibilities for decarbonization, engaging with policymakers and industry to understand the on-the-ground challenges to technological and policy-based solutions and highlight the opportunities for greatest impact.

      2. Developing new ways to prevent, mitigate, and adapt to the effects of climate change

      An estimated 20 percent of MIT faculty work on some aspect of the climate crisis, an enormous research effort distributed throughout the departments, labs, centers, and institutes.

      About a dozen such projects were on display at a poster session coordinated by the Abdul Latif Jameel Water and Food Systems Lab (J-WAFS), Environmental Solutions Initiative (ESI), and MITEI.

      Students and postdocs presented innovations including:

      Graduate student Alexa Reese Canaan describes her research on household energy consumption to Massachusetts State Senator Michael J. Barrett, chair of the Joint Committee on Telecommunications, Utilities, and Energy.

      Photo: Caitlin Cunningham

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      3. Preparing students to meet the challenges of a climate-changed world

      Faculty and staff from more than 30 institutions of higher education convened at the MIT Symposium on Advancing Climate Education to exchange best practices and innovations in teaching and learning. Speakers and participants considered paths to structural change in higher education, the imperative to place equity and justice at the center of new educational approaches, and what it means to “educate the whole student” so that graduates are prepared to live and thrive in a world marked by global environmental and economic disruption.

      Later in April, MIT faculty voted to approve the creation of a new joint degree program in climate system science and engineering.

      4. Offering climate curricula to K-12 teachers

      At a daylong conference on climate education for K-12 schools, the attendees were not just science teachers. Close to 50 teachers of arts, literature, history, math, mental health, English language, world languages, and even carpentry were all hungry for materials and approaches to integrate into their curricula. They were joined by another 50 high school students, ready to test out the workshops and content developed by MIT Climate Action Through Education (CATE), which are already being piloted in at least a dozen schools.

      The CATE initiative is led by Christopher Knittel, the George P. Shultz Professor of Energy Economics at the MIT Sloan School of Management, deputy director for policy at MITEI, and faculty director of the MIT Center for Energy and Environmental Policy Research. The K-12 Climate Action and Education Conference was hosted as a collaboration with the Massachusetts Teachers Association Climate Action Network and Earth Day Boston.

      “We will be honest about the threats posed by climate change, but also give students a sense of agency that they can do something about this,” Knittel told MITEI Energy Futures earlier this spring. “And for the many teachers — especially non-science teachers — starved for knowledge and background material, CATE offers resources to give them confidence to implement our curriculum.”

      High school students and K-12 teachers participated in a workshop on “Exploring a Green City,” part of the Climate Action and Education Conference on April 1.

      Photo: Tony Rinaldo

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      5. Guiding our communities in making sense of the coming changes

      The arts and humanities, vital in their own right, are also central to the sharing of scientific knowledge and its integration into culture, behavior, and decision-making. A message well-delivered can reach new audiences and prompt reflection and reckoning on ethics and values, identity, and optimism.

      The Climate Machine, part of ESI’s Arts and Climate program, produced an evening art installation on campus featuring dynamic, large-scale projections onto the façade of MIT’s new music building and a musical performance by electronic duo Warung. Passers-by were invited to take a Climate Identity Quiz, with the responses reflected in the visuals. Another exhibit displayed the results of a workshop in which attendees had used an artificial intelligence art tool to imagine the future of their hometowns, while another highlighted native Massachusetts wildlife.

      The Climate Machine is an MIT research project undertaken in collaboration with record label Anjunabeats. The collaborative team imagines interactive experiences centered on sustainability that could be deployed at musical events and festivals to inspire climate action.

      Dillon Ames (left) and Aaron Hopkins, known as the duo Warung, perform a live set during the Climate Machine art installation.

      Photo: Caitlin Cunningham

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      6. Empowering students to seize this unique policy moment

      ESI’s TILclimate Podcast, which breaks down important climate topics for general listeners, held a live taping at the MIT Museum and offered an explainer on three recent, major pieces of federal legislation: the Inflation Reduction Act of 2022, the Bipartisan Infrastructure Bill of 2021, and the CHIPS and Science Act of 2022.

      The combination of funding and financial incentives for energy- and climate-related projects, along with reinvestment in industrial infrastructure, create “a real moment and an opportunity,” said special guest Elisabeth Reynolds, speaking with host Laur Hesse Fisher. Reynolds was a member of the National Economic Council from 2021 to 2022, serving as special assistant to the president for manufacturing and economic development; after leaving the White House, Reynolds returned to MIT, where she is a lecturer in MIT’s Department of Urban Studies and Planning.

      For students, the opportunities to engage have never been better, Reynolds urged: “There is so much need. … Find a way to contribute, and find a way to help us make this transformation.”

      “What we’re embarking on now, you just can’t overstate the significance of it,” she said.

      For more information on how MIT is advancing climate action across education; research and innovation; policy; economic, social, and environmental justice; public and global engagement; sustainable campus operations; and more, visit Fast Forward: MIT’s Climate Action Plan for the Decade. The actions described in the plan aim to accelerate the global transition to net-zero carbon emissions, and to “educate and empower the next generation.” More

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      in Energy

      Solve at MIT 2023: Collaboration and climate efforts are at the forefront of social impact

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      “The scale, complexity, the global nature of the problems we’re dealing with are so big that no single institution, industry, or country can deal with them alone,” MIT President Sally Kornbluth stated in her first remarks to the Solve community.

      Over 300 social impact leaders from around the world convened on MIT’s campus for Solve at MIT 2023 to celebrate the 2022 Solver class and to discuss some of the world’s greatest challenges and how we can tackle them with innovation, entrepreneurship, and technology.

      These challenges can be complicated and may even feel insurmountable, but Solve at MIT leaves us with the hope, tools, and connections needed to find solutions together.

      Hala Hanna, executive director of MIT Solve, shared what keeps her inspired and at the front line of social impact: “Optimism isn’t about looking away from the issues but looking right at them, believing we can create the solutions and putting in the work. So, anytime I need a dose of optimism, I look to the innovators we work with,” Hanna shared during the opening plenary, Unlocking our Collective Potential.

      Over the course of three days, more than 300 individuals from around the world convened to celebrate the 2022 Solver class, create partnerships that lead to progress, and address solutions to pressing world issues in real-time.

      Every technologist, philanthropist, investor, and innovator present at Solve at MIT left with their own takeaway, but three main themes seemed to underscore the overall discussions.

      Technology and innovation are as neutral as the makers

      Having bias is a natural part of what makes us human. However, being aware of our predispositions is necessary to transform our lived experiences into actionable solutions for others to benefit from. 

      We’ve largely learned that bias can be both unavoidable and applied almost instantly. Sangbae Kim, director of the Biomimetic Robotics Laboratory and professor of mechanical engineering at MIT, proved this through robotics demonstrations where attendees almost unanimously were more impressed with a back-flipping MIT robot compared to one walking in circles. As it turns out, it took one individual three days to program a robot to do a flip and over two weeks for a full team to program one to walk. “We judge through the knowledge and bias we have based on our lived experiences,” Kim pointed out.

      Bias and lived experiences don’t have to be bad things. The solutions we create based on our own lives are what matter. 

      2022 Solver Atif Javed, co-founder and executive director of Tarjimly, began translating for his grandmother as a child and learned about the struggles that come with being a refugee. This led him to develop a humanitarian language-translation application, which connects volunteer translators with immigrants, refugees, nongovernmental organizations (NGOs), and more, on demand. 

      Vanessa Castañeda Gill, 2022 Solver and co-founder and CEO of Social Cipher, transformed her personal experience with ADHD and autism to develop Ava, a video game empowering neuro-divergent youth and facilitating social-emotional learning.

      For Kelsey Wirth, co-founder and chair of Mothers Out Front, the experience of motherhood and the shared concerns for the well-being of children are what unite her with other moms. 

      Whitney Wolf Herd, founder and CEO of Bumble, shared that as a leader in technology and a person who witnessed toxic online spaces, she sees it as her responsibility to spearhead change. 

      During the plenary, “Bringing us Together or Tearing us Apart?” Wolf Herd asked, “What if we could use technology to be a force for positivity?” She shared her vision for equality and respect to be part of the next digital wave. She also called for technology leaders to join her to ensure “guardrails and ground rules” are in place to make sure this goal becomes a reality.

      Social innovation must be intersectional and intergenerational

      During Solve at MIT, industry leaders across sectors, cultures, ages, and expertise banded together to address pressing issues and to form relationships with innovators looking for support in real time.

      Adam Bly, founder and CEO of System Inc., discussed the interconnected nature of all things and why his organization is on a mission to show the links, “We’re seeing rising complexity in the systems that make up life on earth, and it impacts us individually and globally. The way we organize the information and data we need to make decisions about those systems [is highly] siloed and highly fragmented, and it impairs our ability to make decisions in the most systemic, holistic, rational way.”

      President and CEO of the National Resources Defense Council Manish Bapna shared his advocacy for cross-sector work: “Part of what I’ve seen really proliferate and expand in a good way over the past 10 to 15 years are collaborations involving startups in the private sector, governments, and NGOs. No single stakeholder or organization can solve the problem, but by coming together, they bring different perspectives and skills in ways that can create the innovation we need to see.”

      For a long time, STEM (science, technology, engineering, and math) were seen as the subjects that would resolve our complex issues, but as it turns out, art also holds a tremendous amount of power to transcend identity, borders, status, and concerns, to connect us all and aid us in global unity. Artists Beatie Wolfe, Norhan Bayomi, Aida Murad, and Nneka Jones showed us how to bring healing and awareness to topics like social and environmental injustice through their music, embroidery, and painting.

      The 2023 Solv[ED] Innovators, all age 24 or under, have solutions that are improving communication for individuals with hearing loss, transforming plastic waste into sustainable furniture, and protecting the Black birthing community, among other incredible feats.

      Kami Dar, co-founder and CEO of Uniti Networks, summarizes the value of interconnected problem-solving: “My favorite SDG [sustainable development goal] is SDG number 17— the power of partnership. Look for the adjacent problem-solvers and make sure we are not reinventing the wheel.”

      Relationships and the environment connect us all

      Solve is working to address global challenges on an ongoing basis connected to climate, economic prosperity, health, and learning. Many of these focus areas bleed into one another, but social justice and climate action served as a backdrop for many global issues addressed during Solve at MIT.

      “When we started addressing climate change, we saw it primarily as technical issues to bring down emissions … There’s inequality, there’s poverty, there are social tensions that are rising … We are not going to address climate change without addressing the social tensions that are embedded,” said Lewis Akenji, managing director of the Hot or Cool Institute. Akenji sees food, mobility, and housing as the most impactful areas to focus solutions on first.

      During the “Ensuring a Just Transition to Net Zero” plenary, Heather Clancy, vice president and editorial director at Greenbiz, asked panelists what lessons they have learned from their work. Janelle Knox Hayes, ​​professor of economic geography and planning at MIT, shared that listening to communities, especially front-line and Indigenous communities, is needed before deploying solutions to the energy crisis. “Climate work has this sense of urgency, like it rapidly has to be done … to do really engaged environmental justice work, we have to slow down and realize even before we begin, we need a long period of time to plan. But before we even do that, we have to rebuild relationships and trust and reciprocity … [This] will lead to better and longer-lasting solutions.”

      Hina Baloch, executive director and global head of climate change and sustainability strategy and communication at General Motors, asked Chéri Smith, founder of Indigenous Energy Initiative, to share her perspective on energy sovereignty as it relates to Indigenous communities. Smith shared, “Tribes can’t be sovereign if they’re relying on outside sources for their energy. We were founded to support the self-determination of tribes to revamp their energy systems and rebuild, construct, and maintain them themselves.”

      Smith shared an example of human and tribal-centered innovation in the making. Through the Biden administration’s national electronic vehicle (EV) initiative, Indigenous Energy Initiative and Native Sun Community Power Development will collaborate and create an inter-tribal EV charging network. “The last time we built out an electric grid, it deliberately skipped over tribal country. This time, we want to make sure that we not only have a seat at the table, but that we build out the tables and invite everyone to them,” said Smith.

      Solve at MIT led to meaningful discussions about climate change, intersectional and accessible innovation, and the power that human connection has to unite everyone. Entrepreneurship and social change are the paths forward. And although the challenges ahead of us can be daunting, with community, collaboration, and a healthy dose of bravery, global challenges will continue to be solved by agile impact entrepreneurs all around the world. 

      As Adrianne Haslet, a professional ballroom dancer and Boston Marathon bombing survivor, reminded attendees, “What will get you to the finish line is nothing compared to what got you to the start line.” More

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      in Environment

      Q&A: Tod Machover on “Overstory Overture,” his new operatic work

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      Composers find inspiration from many sources. For renowned MIT Media Lab composer Tod Machover, reading the Richard Powers novel “The Overstory” instantly made him want to adapt it as an operatic composition. This might not seem an obvious choice to some: “The Overstory” is about a group of people, including a wrongly maligned scientist, who band together to save a forest from destruction.

      But Machover’s resulting work, “Overstory Overture,” a 35-minute piece commissioned and performed by the chamber ensemble Sejong Soloists, has come to fruition and will have its world premiere on March 7 in Alice Tully Hall at New York’s Lincoln Center. Opera superstar Joyce DiDonato will have the lead role, with Earl Lee conducting. On March 16, the piece will have its second performance, in Seoul, South Korea. MIT News recently talked to Machover about his original new work.

      Q: How did you get the idea for your new work?

      A: I’ve been a fan of Richard Powers’ novels for a long time. He started out as a musician. He’s a cellist like I am, and was a composer before he was a writer, and he’s also been deeply interested in science for his whole career. All of his novels have something to do with people, ideas, music, and science. He’s always been on my radar.

      Q: What’s compelling to you about this particular Powers book?

      A: “The Overstory” is made up of many stories about characters who come together, improbably, because of trees. It starts with short chapters describing characters with relationships to trees. One is about a family that moved to the Midwest and planted a chestnut tree. It grows for 150 years and they take pictures every year, and it’s at the center of the family until it gets cut down in the 1990s. Another guy is in a plane in Vietnam and gets shot down, and his parachute gets caught in a tree right before he hits the ground.

      One character is named Patricia Westerford and she’s a scientist. Her life work is studying the forest and trees, and she discovers that trees communicate — both underground, through the roots, and through the air, via particles. They’re much more like a network than they are static, isolated objects. Her whole world is discovering the miracle of this network, but nobody believes her and she loses her tenure. And she basically goes and lives in the forest. Eventually all the characters in the book come together to preserve a forest in the Northwest that’s going to be destroyed. They become connected through trees, but in the book, all their lives are basically destroyed. It’s not a happy ending, but you understand how human beings are connected through the natural world, and have to think about this connection in a radically new way.

      Every single character came alive. The book is just a miracle. It’s a great work of art. Immediately, reading it, I thought, this is something I want to work on.

      Q: How did you start turning that into an operatic composition?

      A: I got in touch with Powers soon after that. Richard knew my music and answered immediately, saying, “I’d love to have you do an opera on this, and let’s figure out how.” I started working on it just before the pandemic. Around that time he came to Harvard to give a lecture, so he came here to my office in the Media Lab, and we got to chat.

      Generally novels leave more room for you to decide how to make music out of them; they’re a lot less scripted than a movie or a play, and the many inner thoughts and asides leave room for music to fill in. I asked Richard, “Would you be interested in writing the text for this?” And right away he said, “Look, I’d like to be involved in the process, but I don’t feel equipped to write a libretto.” So, I went to Simon Robson, who worked on “Schoenberg in Hollywood” [another Machover opera], and we started working and checked in with Richard from time to time.

      Just about that time the ensemble Sejong Soloists, who are based in New York and Seoul, offered to have their string orchestra collaborate on a project with a theatrical aspect, which was new for them. I explained I was working on an opera based on “The Overstory,” and I felt we could explore its themes. I could imagine the string instruments being like trees and the orchestra being the forest.

      The next thing I did was contact my favorite singer, Joyce DiDonato. She’s such a beautiful, powerful singer. I did an opera in 1999 for Houston called “Resurrection,” which was based on Tolstoy’s last novel, and we were casting the main female character. We did auditions in New York, Los Angeles, and Europe, couldn’t find the main character, and finally the head of the Houston Grand Opera said, “You know, there’s this young singer in our apprentice program who’s pretty special, and you should hear her.”

      And sure enough, that was Joyce. It was her first major role. We hadn’t done another project together although we remained close over the years, but I called her and said “Joyce, I know how busy you are, but I’ve got this idea, and I’ll send you the book. It’s great and I’d love to focus on this one character, would you consider doing it?” And she said she’d love to, partly because sustainability and the environment is something she really cares about.

      Q: Okay, but how do you get started writing music for a piece when it’s based on a book about trees?

      A: I began with two things. Musically I started with the idea of creating this language for tree communication. I was inspired by this idea that one of the reasons we don’t know about it is it’s underground, it’s low, it’s spreading out. I’m a cellist, and I’ve always loved music that grows from the bottom. When you play the cello, in a lot of the great literature, you’re playing the low part of a quartet or quintet or orchestra, and often people don’t quite hear it as the most prominent thing.

      The second thing I did was start making this text. Which was hard, because it’s a big novel. It’s a 35-minute piece where Joyce is at the center. When she starts, she just talks, for a minute, and then little by little it turns into song. It’s her sharing with everybody what she learned, she brings you into the world of the forest. In time, there’s a crisis, they’re destroying the forest, and as she says, they’re tearing out the lungs — tearing out the mind — of the world. The last part of the piece is a vision of how the trees need us but we need them even more.

      Q: I don’t want to push too hard on this, but the composition sounds parallel with its subject matter. Trees are connected; an orchestra is connected. And then this story is about people building a connection to nature, while you want the audience to feel a connection to the piece. How much did you think about it that way?

      A: I was thinking about that pretty consciously, and I really tried to make something that feels very still and simple, but where there’s a lot going on. It feels like it’s living and moving. The piece starts out with solo instruments, so at first everybody’s doing their bit, then they all join in. The strings make a rich ensemble sound, but in the last section every single instrument has its own part — I wrote an individual part for all these string players so they’re kind of weaving in and out. Musically it’s very much constructed to lead people through a forest that is both diverse but connected together.

      I also enjoy using electronics to add another dimension. In this piece I’ve tried to create an electronic world that doesn’t necessarily remind you of electronics, except for one part where machines comes in ripping the forest apart. But mostly the electronics are blended with the orchestra in a way you might not always notice. The sound and feel, hopefully, will appear more natural than nature.

      Q: You also seem to have clearly identified a story with real operatic drama here, unusual as it may be.

      A: The emotional transition that happens is the awareness of what the forest means, and in your gut what it means to protects it, and what it would mean to lose it, and then a glimpse of what it might feel like to live in a different way. I think the contribution someone like myself might be able to make is to change attitudes, to think about our limits as a species and as individuals. Technical solutions alone aren’t going to solve things; people’s behavior somehow has to change. A piece like this is a way of having the experience of crisis, and a vision of what could be different.

      Q: Here’s something a lot of us want to know: What’s it like working with Joyce DiDonato?

      A: She’s one of those rare people. She’s completely direct and honest and lives life to the fullest. Joyce, I mean, thank God she has the best voice you’ll ever hear and she’s at the top of her game, but she also thinks about the world and ideas, and she did a whole project a few years ago performing a repertoire around the world about war and peace, to jolt people into a new understanding. Every project she’s involved with, she cares about the characters and she’s in it all the way.

      For this piece we did a bunch of Zoom sessions and tried things out. And she’s fantastic at saying, “To make that phrase the best you can for my voice at this point in the piece, would you consider changing that one note?” She has incredibly precise ideas about that. So, we worked musically on every detail and on the whole shape. What a pleasure! She also came here to MIT. She hadn’t been to the Media Lab, so she spent two days here at the beginning of August with her partner. She was so open to all the students and all the ideas and inventions and machines and software, just in the most gracious and truly excited way. You couldn’t have had a better visitor.

      Q: Any last thoughts about this piece you want to share?

      A: In my music in general, I’m pretty voracious at combining different things. I think in this project where it involves the natural world and the language of trees, and the language of melodies and instruments and electronic music, there may be more elements I’ve pulled together than ever. The emotional and even musical world here is larger. That’s my story here: These elements require and invite new thinking. And remember: This is just the first part of a larger project. I hope that you can hear the full “Overstory” opera — perhaps with trees growing in a major opera house — in the not-so-distant future! More

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      in Security

      Q&A: Latifah Hamzah ’12 on creating sustainable solutions in Malaysia and beyond

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      Latifah Hamzah ’12 graduated from MIT with a BS in mechanical engineering and minors in energy studies and music. During their time at MIT, Latifah participated in various student organizations, including the MIT Symphony Orchestra, Alpha Phi Omega, and the MIT Design/Build/Fly team. They also participated in the MIT Energy Initiative’s Undergraduate Research Opportunities Program (UROP) in the lab of former professor of mechanical engineering Alexander Mitsos, examining solar-powered thermal and electrical co-generation systems.

      After graduating from MIT, Latifah worked as a subsea engineer at Shell Global Solutions and co-founded Engineers Without Borders – Malaysia, a nonprofit organization dedicated to finding sustainable and empowering solutions that impact disadvantaged populations in Malaysia. More recently, Latifah received a master of science in mechanical engineering from Stanford University, where they are currently pursuing a PhD in environmental engineering with a focus on water and sanitation in developing contexts.

      Q: What inspired you to pursue energy studies as an undergraduate student at MIT?

      A: I grew up in Malaysia, where I was at once aware of both the extent to which the oil and gas industry is a cornerstone of the economy and the need to transition to a lower-carbon future. The Energy Studies minor was therefore enticing because it gave me a broader view of the energy space, including technical, policy, economic, and other viewpoints. This was my first exposure to how things worked in the real world — in that many different fields and perspectives had to be considered cohesively in order to have a successful, positive, and sustained impact. Although the minor was predominantly grounded in classroom learning, what I learned drove me to want to discover for myself how the forces of technology, society, and policy interacted in the field in my subsequent endeavors.

      In addition to the breadth that the minor added to my education, it also provided a structure and focus for me to build on my technical fundamentals. This included taking graduate-level classes and participating in UROPs that had specific energy foci. These were my first forays into questions that, while still predominantly technical, were more open-ended and with as-yet-unknown answers that would be substantially shaped by the framing of the question. This shift in mindset required from typical undergraduate classes and problem sets took a bit of adjusting to, but ultimately gave me the confidence and belief that I could succeed in a more challenging environment.

      Q: How did these experiences with energy help shape your path forward, particularly in regard to your work with Engineers Without Borders – Malaysia and now at Stanford?

      A: When I returned home after graduation, I was keen to harness my engineering education and explore in practice what the Energy Studies minor curriculum had taught by theory and case studies: to consider context, nuance, and interdisciplinary and myriad perspectives to craft successful, sustainable solutions. Recognizing that there were many underserved communities in Malaysia, I co-founded Engineers Without Borders – Malaysia with some friends with the aim of working with these communities to bring simple and sustainable engineering solutions. Many of these projects did have an energy focus. For example, we designed, sized, and installed micro-hydro or solar-power systems for various indigenous communities, allowing them to continue living on their ancestral lands while reducing energy poverty. Many other projects incorporated other aspects of engineering, such as hydrotherapy pools for folks with special needs, and water and sanitation systems for stateless maritime communities.

      Through my work with Engineers Without Borders – Malaysia, I found a passion for the broader aspects of sustainability, development, and equity. By spending time with communities in the field and sharing in their experiences, I recognized gaps in my skill set that I could work on to be more effective in advocating for social and environmental justice. In particular, I wanted to better understand communities and their perspectives while being mindful of my positionality. In addition, I wanted to address the more systemic aspects of the problems they faced, which I felt in many cases would only be possible through a combination of research, evidence, and policy. To this end, I embarked on a PhD in environmental engineering with a minor in anthropology and pursued a Community-Based Research Fellowship with Stanford’s Haas Center for Public Service. I have also participated in the Rising Environmental Leaders Program (RELP), which helps graduate students “hone their leadership and communications skills to maximize the impact of their research.” RELP afforded me the opportunity to interact with representatives from government, NGOs [nongovernmental organizations], think tanks, and industry, from which I gained a better understanding of the policy and adjacent ecosystems at both the federal and state levels.

      Q: What are you currently studying, and how does it relate to your past work and educational experiences?

      A: My dissertation investigates waste management and monitoring for improved planetary health in three distinct projects. Suboptimal waste management can lead to poor outcomes, including environmental contamination, overuse of resources, and lost economic and environmental opportunities in resource recovery. My first project showed that three combinations of factors resulted in ruminant feces contaminating the stored drinking water supplies of households in rural Kenya, and the results were published in the International Journal of Environmental Research and Public Health. Consequently, water and sanitation interventions must also consider animal waste for communities to have safe drinking water.

      My second project seeks to establish a circular economy in the chocolate industry with indigenous Malaysian farmers and the Chocolate Concierge, a tree-to-bar social enterprise. Having designed and optimized apparatuses and processes to create biochar from cacao husk waste, we are now examining its impact on the growth of cacao saplings and their root systems. The hope is that biochar will increase the resilience of saplings for when they are transplanted from the nursery to the farm. As biochar can improve soil health and yield while reducing fertilizer inputs and sequestering carbon, farmers can accrue substantial economic and environmental benefits, especially if they produce, use, and sell it themselves.

      My third project investigates the gap in sanitation coverage worldwide and potential ways of reducing it. Globally, 46 percent of the population lacks access to safely managed sanitation, while the majority of the 54 percent who do have access use on-site sanitation facilities such as septic tanks and latrines. Given that on-site, decentralized systems typically have a lower space and resource footprint, are cheaper to build and maintain, and can be designed to suit various contexts, they could represent the best chance of reaching the sanitation Sustainable Development Goal. To this end, I am part of a team of researchers at the Criddle Group at Stanford working to develop a household-scale system as part of the Gates Reinvent the Toilet Challenge, an initiative aimed at developing new sanitation and toilet technologies for developing contexts.

      The thread connecting these projects is a commitment to investigating both the technical and socio-anthropological dimensions of an issue to develop sustainable, reliable, and environmentally sensitive solutions, especially in low- and middle-income countries (LMICs). I believe that an interdisciplinary approach can provide a better understanding of the problem space, which will hopefully lead to effective potential solutions that can have a greater community impact.

      Q: What do you plan to do once you obtain your PhD?

      A: I hope to continue working in the spheres of water and sanitation and/or sustainability post-PhD. It is a fascinating moment to be in this space as a person of color from an LMIC, especially as ideas such as community-based research and decolonizing fields and institutions are becoming more widespread and acknowledged. Even during my time at Stanford, I have noticed some shifts in the discourse, although we still have a long way to go to achieve substantive and lasting change. Folks like me are underrepresented in forums where the priorities, policies, and financing of aid and development are discussed at the international or global scale. I hope I’ll be able to use my qualifications, experience, and background to advocate for more just outcomes.

      This article appears in the Autumn 2021 issue of Energy Futures, the magazine of the MIT Energy Initiative More

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      in Environment

      Scientists and musicians tackle climate change together

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      Audiences may travel long distances to see their favorite musical acts in concert or to attend large music festivals, which can add to their personal carbon footprint of emissions that are steadily warming the planet. But these same audiences, and the performers they follow, are often quite aware of the dangers of climate change and eager to contribute to ways of curbing those emissions.

      How should the industry reconcile these two perspectives, and how should it harness the enormous influence that musicians have on their fans to help promote action on climate change?

      That was the focus of a wide-ranging discussion on Monday hosted by MIT’s Environmental Solutions Initiative, titled “Artists and scientists together on climate solutions.” The event, which was held live at the Media Lab’s Bartos Theater and streamed online, featured John Fernandez, director of ESI; Dava Newman, director of the Media Lab; Tony McGuinness, a musician with the group Above and Beyond; and Anna Johnson, the sustainability and environment officer at Involved Group, an organization dedicated to embedding sustainability in business operations in the arts and culture fields.

      Fernandez pointed out in opening the discussion that when it comes to influencing people’s attitudes and behavior, changes tend to come about not just through information from a particular field, but rather from a whole culture. “We started thinking about how we might work with artists, how to have scientists and engineers, inventors, and designers working with artists on the challenges that we really need to face,” he said.

      Dealing with the climate change issue, he said, “is not about 2050 or 2100. This is about 2030. This is about this decade. This is about the next two or three years, really shifting that curve” to lowering the world’s greenhouse gas emissions. “It’s not going to be done just with science and engineering,” he added. “It’s got to be done with artists and business and everyone else. It’s not only ‘all of the above’ solutions, it’s ‘all of the above’ people, coming together to solve this problem.”

      Newman, who is also a professor in MIT’s Department of Aeronautics and Astronautics and has served as a NASA deputy administrator, said that while scientists and engineers can produce vast amounts of useful data that clearly demonstrate the dramatic changes the Earth’s climate is undergoing, communicating that information effectively is often a challenge for these specialists. “That data is just the data, but that doesn’t change the hearts and minds,” she said.

      “As scientists, having the data from our satellites, looking down, but also flying airplanes into the atmosphere, … we have the sensors, and then what can we do with it all? … How do we change human behavior? That’s the part I don’t know how to do,” Newman said. “I can have the technology, I can get precision measurements, I can study it, but really at the end of the day, we have to change human behavior, and that is so hard.”

      And that’s where the world of art and music can play a part, she said. “The best way that I know how to do it is with artistic experiences. You can have one moving experience and when you wake up tomorrow, maybe you’re going to do something a little different.” To help generate the compassion and empathy needed to affect behavior positively, she said, “that’s where we turn to the storytellers. We turn to the visionaries.”

      McGuinness, whose electronic music trio has performed for millions of people around the world, said that his own awareness of the urgency of the climate issue came from his passion for scuba diving, and the dramatic changes he has seen over the last two decades. In diving at a coral reef off Palau in the South Pacific, he returned to what had been a lush, brightly colored ecosystem, and found that “immediately when you put your face under the water, you’re looking at the surface of the moon. It was a horrible shock to see this.”

      After this and other similar diving experiences, he said, “I just came away shocked and stunned,” and realizing the kinds of underwater experiences he had enjoyed would no longer exist for his children. After reading more on the subject of global warming,  “that really sort of tipped me over the edge. And I was like, this is probably the most important thing for living beings now. And that’s sort of where I’ve remained ever since.”

      While his group Above and Beyond has performed one song specifically related to global warming, he doesn’t expect that to be the most impactful way of using their influence. Rather, they’re trying to lead by example, he said, by paying more attention to everything from the supply chains of the merchandise sold at concerts to the emissions generated by travel to the concerts. They’re also being selective about concert venues and making an effort to find performance spaces that are making a significant effort to curb their emissions.

      “If people start voting with their wallets,” McGuinness said, “and there are companies that are doing better than others and are doing the right thing, maybe it’ll catch on. I guess that’s what we can hope for.”

      Understanding these kinds of issues, involving supply chains, transportation, and facilities associated within the music industry, has been the focus of much of Johnson’s work, through the organization Involved Group, which has entered into a collaboration with MIT through the Environmental Solutions Initiative. “It’s these kinds of novel partnerships that have so much potential to catalyze the change that we need to see at an incredible pace,” she said. Already, her group has worked with MIT on mapping out where emissions occur throughout the various aspects of the music industry.

      At a recent music festival in London, she said, the group interviewed hundreds of participants, including audience members, band members, and the crew. “We explored people’s level of awareness of the issues around climate change and environmental degradation,” she said. “And what was really interesting was that there was clearly a lot of awareness of the issue across those different stakeholders, and what felt like a real, genuine level of concern and also of motivation, to want to deepen their understanding of what their contribution on a personal level really meant.”

      Working together across the boundaries of different disciplines and areas of expertise could be crucial to winning the battle against global warming, Newman said. “That’s usually how breakthroughs work,” she said. “If we’re really looking to have impact, it’s going to be from teams of people who are trained across the disciplines.” She pointed out that 90 percent of MIT students are also musicians: “It does go together!” she said. “I think going forward, we have to create new academia, new opportunities that are truly multidisciplinary.” More